Following up from the previous post regarding narrative, we followed this up by establishing a plan of attack at the beginning of the day, with the intent on exhausting this particular process until breaking out of it. It was quite interesting actually we had both made writing / score based – beforehand yet quickly through discussion came up with a basic structure: Chopping up field recordings that we had made during the summer were spread across the 6 channels – the same field recording that Auguste had made in Malaysia for example, was distributed according to frequency across the stereo field (the six speakers) which meant that you’d have sometimes a small element of the overall sound placed toward the back left of you. This really gave a sense of being within the composition. While this was happening we would take it in terns to improvise realtime coded sounds into the spread field recording.
This fed an overarching narrative to our project which is based around digital synthesis within a kind of natural environment (field recordings). The presence of digital frequency within the full sonic environment of our hearing / speculating the presents of digital devises that we carry around with us less as a material object but perhaps as an immaterial frequency that buzzes around you?
On a slightly different note: This week we made some technical break throughs in terms of multichannel expansion, spreading both software (tidal cycles and supercollider) over the 6-8 channels (speakers). Thanks to the help of the online coding communicty at livecode.Slack
It should be noted that some of these enthusiasts helped use individually for hours, and helped us achieve something thats not really documented. Spreading knowledge is a cool thing and it’s a good feeling knowing that we figured this out through classic message board exchange format.
For three days we had 6 speakers to play with. This time with the correct stands – Which is a good place to start the reflection / The stands really took this set up to another level, something so simple yet added a variety of depth to the listening – We experimented with them at average ear level height, but also at a ranch of different height. This meant that there were different levels of listening, meaning that you’d hear different sound different frequencies whether you were stood straight or crouched which was pretty cool.
Another point I wanna talk about a bit is again we recording most of the action with binaural microphones. I guess you could say I chose to take this on as an acting role – becoming quite literally the microphone devise (Which you kinda haft to when using binaural microphones as they clip onto you). This decision happened somewhat impromptu, when stood in the middle of the circle I started moving my head and noticed it would effect the levels meter on the microphone – naturally, after noticing this I realised I could play the role of ‘recorder’ (something I’d hadn’t realised before) intuitivlly moving around the circle of speakers favouring different sides sometime in time with the panning of the audio back and fourth, sometimes against it – opting to stay closest to the most quiet speaker. What was interesting about doing this was noticing that I could act as a different stage for the audio to go through, Goose would write sounds live, while I had a big part both as a listener and as a recording in how the sounds were received and captured. Which was perhaps a different role within the project – I was Both a part of the action as well as the listening and receiving a lot of the sound for the first time. Not often have I felt in this objectively position of moving acting microphone. It feels even now quite a difficult position to describe, but one that continues onward from comments we were making in regard to there being a very physical sense to the sound, which I think is a feeling encouraged by the multichannel expansion – even more so this time around as we really leaned into the aspect. spreading more elements of the audio across the stereo field, and again randomising individual sounds direction. whats cool is that this translates pretty well through the actual recordings – the effects not quite the same but these recordings are by far a more interesting form of documentary. I think we can furthere enhance this aspect, with more speakers, but more importantly I think, different rooms and spaces, different reverberations.
Which I think leads on to what I took from this whole things – not just interesting recordings, but a deeper understanding and feeling for the role of the listener we were nurturing, but also how much this needs to be a performance of sorts. Its far to say we both really feeling this need for an audience to further understanding of what we are doing.